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| Buskers Fake Book All Time Hit Piano solo Music Sales | | |
| The Real Little Classical Fake Book - 2nd Edition Piano solo - Intermediate Hal Leonard
Composed by Various. For Piano/Keyboard. Hal Leonard Fake Books. Classical. Diff...(+)
Composed by Various. For Piano/Keyboard. Hal Leonard Fake Books. Classical. Difficulty: medium to medium-difficult. Fakebook. Melody line, chord names and lyrics (on some songs). 413 pages. Published by Hal Leonard
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| Transcriptions of Lieder Piano solo Carl Fischer
Chamber Music Piano SKU: CF.PL1056 Composed by Clara Wieck-Schumann, Fran...(+)
Chamber Music Piano SKU: CF.PL1056 Composed by Clara Wieck-Schumann, Franz Schubert, and Robert Schumann. Edited by Nicholas Hopkins. Collection. With Standard notation. 128 pages. Carl Fischer Music #PL1056. Published by Carl Fischer Music (CF.PL1056). ISBN 9781491153390. UPC: 680160910892. Transcribed by Franz Liszt. Introduction It is true that Schubert himself is somewhat to blame for the very unsatisfactory manner in which his admirable piano pieces are treated. He was too immoderately productive, wrote incessantly, mixing insignificant with important things, grand things with mediocre work, paid no heed to criticism, and always soared on his wings. Like a bird in the air, he lived in music and sang in angelic fashion. --Franz Liszt, letter to Dr. S. Lebert (1868) Of those compositions that greatly interest me, there are only Chopin's and yours. --Franz Liszt, letter to Robert Schumann (1838) She [Clara Schumann] was astounded at hearing me. Her compositions are really very remarkable, especially for a woman. There is a hundred times more creativity and real feeling in them than in all the past and present fantasias by Thalberg. --Franz Liszt, letter to Marie d'Agoult (1838) Chretien Urhan (1790-1845) was a Belgian-born violinist, organist and composer who flourished in the musical life of Paris in the early nineteenth century. According to various accounts, he was deeply religious, harshly ascetic and wildly eccentric, though revered by many important and influential members of the Parisian musical community. Regrettably, history has forgotten Urhan's many musical achievements, the most important of which was arguably his pioneering work in promoting the music of Franz Schubert. He devoted much of his energies to championing Schubert's music, which at the time was unknown outside of Vienna. Undoubtedly, Urhan was responsible for stimulating this enthusiasm in Franz Liszt; Liszt regularly heard Urhan's organ playing in the St.-Vincent-de-Paul church in Paris, and the two became personal acquaintances. At eighteen years of age, Liszt was on the verge of establishing himself as the foremost pianist in Europe, and this awakening to Schubert's music would prove to be a profound experience. Liszt's first travels outside of his native provincial Hungary were to Vienna in 1821-1823, where his father enrolled him in studies with Carl Czerny (piano) and Antonio Salieri (music theory). Both men had important involvements with Schubert; Czerny (like Urhan) as performer and advocate of Schubert's music and Salieri as his theory and composition teacher from 1813-1817. Curiously, Liszt and Schubert never met personally, despite their geographical proximity in Vienna during these years. Inevitably, legends later arose that the two had been personal acquaintances, although Liszt would dismiss these as fallacious: I never knew Schubert personally, he was once quoted as saying. Liszt's initial exposure to Schubert's music was the Lieder, what Urhan prized most of all. He accompanied the tenor Benedict Randhartinger in numerous performances of Schubert's Lieder and then, perhaps realizing that he could benefit the composer more on his own terms, transcribed a number of the Lieder for piano solo. Many of these transcriptions he would perform himself on concert tour during the so-called Glanzzeit, or time of splendor from 1839-1847. This publicity did much to promote reception of Schubert's music throughout Europe. Once Liszt retired from the concert stage and settled in Weimar as a conductor in the 1840s, he continued to perform Schubert's orchestral music, his Symphony No. 9 being a particular favorite, and is credited with giving the world premiere performance of Schubert's opera Alfonso und Estrella in 1854. At this time, he contemplated writing a biography of the composer, which regrettably remained uncompleted. Liszt's devotion to Schubert would never waver. Liszt's relationship with Robert and Clara Schumann was far different and far more complicated; by contrast, they were all personal acquaintances. What began as a relationship of mutual respect and admiration soon deteriorated into one of jealousy and hostility, particularly on the Schumann's part. Liszt's initial contact with Robert's music happened long before they had met personally, when Liszt published an analysis of Schumann's piano music for the Gazette musicale in 1837, a gesture that earned Robert's deep appreciation. In the following year Clara met Liszt during a concert tour in Vienna and presented him with more of Schumann's piano music. Clara and her father Friedrich Wieck, who accompanied Clara on her concert tours, were quite taken by Liszt: We have heard Liszt. He can be compared to no other player...he arouses fright and astonishment. His appearance at the piano is indescribable. He is an original...he is absorbed by the piano. Liszt, too, was impressed with Clara--at first the energy, intelligence and accuracy of her piano playing and later her compositions--to the extent that he dedicated to her the 1838 version of his Etudes d'execution transcendante d'apres Paganini. Liszt had a closer personal relationship with Clara than with Robert until the two men finally met in 1840. Schumann was astounded by Liszt's piano playing. He wrote to Clara that Liszt had played like a god and had inspired indescribable furor of applause. His review of Liszt even included a heroic personification with Napoleon. In Leipzig, Schumann was deeply impressed with Liszt's interpretations of his Noveletten, Op. 21 and Fantasy in C Major, Op. 17 (dedicated to Liszt), enthusiastically observing that, I feel as if I had known you twenty years. Yet a variety of events followed that diminished Liszt's glory in the eyes of the Schumanns. They became critical of the cult-like atmosphere that arose around his recitals, or Lisztomania as it came to be called; conceivably, this could be attributed to professional jealousy. Clara, in particular, came to loathe Liszt, noting in a letter to Joseph Joachim, I despise Liszt from the depths of my soul. She recorded a stunning diary entry a day after Liszt's death, in which she noted, He was an eminent keyboard virtuoso, but a dangerous example for the young...As a composer he was terrible. By contrast, Liszt did not share in these negative sentiments; no evidence suggests that he had any ill-regard for the Schumanns. In Weimar, he did much to promote Schumann's music, conducting performances of his Scenes from Faust and Manfred, during a time in which few orchestras expressed interest, and premiered his opera Genoveva. He later arranged a benefit concert for Clara following Robert's death, featuring Clara as soloist in Robert's Piano Concerto, an event that must have been exhilarating to witness. Regardless, her opinion of him would never change, despite his repeated gestures of courtesy and respect. Liszt's relationship with Schubert was a spiritual one, with music being the one and only link between the two men. That with the Schumanns was personal, with music influenced by a hero worship that would aggravate the relationship over time. Nonetheless, Liszt would remain devoted to and enthusiastic for the music and achievements of these composers. He would be a vital force in disseminating their music to a wider audience, as he would be with many other composers throughout his career. His primary means for accomplishing this was the piano transcription. Liszt and the Transcription Transcription versus Paraphrase Transcription and paraphrase were popular terms in nineteenth-century music, although certainly not unique to this period. Musicians understood that there were clear distinctions between these two terms, but as is often the case these distinctions could be blurred. Transcription, literally writing over, entails reworking or adapting a piece of music for a performance medium different from that of its original; arrangement is a possible synonym. Adapting is a key part of this process, for the success of a transcription relies on the transcriber's ability to adapt the piece to the different medium. As a result, the pre-existing material is generally kept intact, recognizable and intelligible; it is strict, literal, objective. Contextual meaning is maintained in the process, as are elements of style and form. Paraphrase, by contrast, implies restating something in a different manner, as in a rewording of a document for reasons of clarity. In nineteenth-century music, paraphrasing indicated elaborating a piece for purposes of expressive virtuosity, often as a vehicle for showmanship. Variation is an important element, for the source material may be varied as much as the paraphraser's imagination will allow; its purpose is metamorphosis. Transcription is adapting and arranging; paraphrasing is transforming and reworking. Transcription preserves the style of the original; paraphrase absorbs the original into a different style. Transcription highlights the original composer; paraphrase highlights the paraphraser. Approximately half of Liszt's compositional output falls under the category of transcription and paraphrase; it is noteworthy that he never used the term arrangement. Much of his early compositional activities were transcriptions and paraphrases of works of other composers, such as the symphonies of Beethoven and Berlioz, vocal music by Schubert, and operas by Donizetti and Bellini. It is conceivable that he focused so intently on work of this nature early in his career as a means to perfect his compositional technique, although transcription and paraphrase continued well after the technique had been mastered; this might explain why he drastically revised and rewrote many of his original compositions from the 1830s (such as the Transcendental Etudes and Paganini Etudes) in the 1850s. Charles Rosen, a sympathetic interpreter of Liszt's piano works, observes, The new revisions of the Transcendental Etudes are not revisions but concert paraphrases of the old, and their art lies in the technique of transformation. The Paganini etudes are piano transcriptions of violin etudes, and the Transcendental Etudes are piano transcriptions of piano etudes. The principles are the same. He concludes by noting, Paraphrase has shaded off into composition...Composition and paraphrase were not identical for him, but they were so closely interwoven that separation is impossible. The significance of transcription and paraphrase for Liszt the composer cannot be overstated, and the mutual influence of each needs to be better understood. Undoubtedly, Liszt the composer as we know him today would be far different had he not devoted so much of his career to transcribing and paraphrasing the music of others. He was perhaps one of the first composers to contend that transcription and paraphrase could be genuine art forms on equal par with original pieces; he even claimed to be the first to use these two terms to describe these classes of arrangements. Despite the success that Liszt achieved with this type of work, others viewed it with circumspection and criticism. Robert Schumann, although deeply impressed with Liszt's keyboard virtuosity, was harsh in his criticisms of the transcriptions. Schumann interpreted them as indicators that Liszt's virtuosity had hindered his compositional development and suggested that Liszt transcribed the music of others to compensate for his own compositional deficiencies. Nonetheless, Liszt's piano transcriptions, what he sometimes called partitions de piano (or piano scores), were instrumental in promoting composers whose music was unknown at the time or inaccessible in areas outside of major European capitals, areas that Liszt willingly toured during his Glanzzeit. To this end, the transcriptions had to be literal arrangements for the piano; a Beethoven symphony could not be introduced to an unknowing audience if its music had been subjected to imaginative elaborations and variations. The same would be true of the 1833 transcription of Berlioz's Symphonie fantastique (composed only three years earlier), the astonishingly novel content of which would necessitate a literal and intelligible rendering. Opera, usually more popular and accessible for the general public, was a different matter, and in this realm Liszt could paraphrase the original and manipulate it as his imagination would allow without jeopardizing its reception; hence, the paraphrases on the operas of Bellini, Donizetti, Mozart, Meyerbeer and Verdi. Reminiscence was another term coined by Liszt for the opera paraphrases, as if the composer were reminiscing at the keyboard following a memorable evening at the opera. Illustration (reserved on two occasions for Meyerbeer) and fantasy were additional terms. The operas of Wagner were exceptions. His music was less suited to paraphrase due to its general lack of familiarity at the time. Transcription of Wagner's music was thus obligatory, as it was of Beethoven's and Berlioz's music; perhaps the composer himself insisted on this approach. Liszt's Lieder Transcriptions Liszt's initial encounters with Schubert's music, as mentioned previously, were with the Lieder. His first transcription of a Schubert Lied was Die Rose in 1833, followed by Lob der Tranen in 1837. Thirty-nine additional transcriptions appeared at a rapid pace over the following three years, and in 1846, the Schubert Lieder transcriptions would conclude, by which point he had completed fifty-eight, the most of any composer. Critical response to these transcriptions was highly favorable--aside from the view held by Schumann--particularly when Liszt himself played these pieces in concert. Some were published immediately by Anton Diabelli, famous for the theme that inspired Beethoven's variations. Others were published by the Viennese publisher Tobias Haslinger (one of Beethoven's and Schubert's publishers in the 1820s), who sold his reserves so quickly that he would repeatedly plead for more. However, Liszt's enthusiasm for work of this nature soon became exhausted, as he noted in a letter of 1839 to the publisher Breitkopf und Hartel: That good Haslinger overwhelms me with Schubert. I have just sent him twenty-four new songs (Schwanengesang and Winterreise), and for the moment I am rather tired of this work. Haslinger was justified in his demands, for the Schubert transcriptions were received with great enthusiasm. One Gottfried Wilhelm Fink, then editor of the Allgemeine musikalische Zeitung, observed of these transcriptions: Nothing in recent memory has caused such sensation and enjoyment in both pianists and audiences as these arrangements...The demand for them has in no way been satisfied; and it will not be until these arrangements are seen on pianos everywhere. They have indeed made quite a splash. Eduard Hanslick, never a sympathetic critic of Liszt's music, acknowledged thirty years after the fact that, Liszt's transcriptions of Schubert Lieder were epoch-making. There was hardly a concert in which Liszt did not have to play one or two of them--even when they were not listed on the program. These transcriptions quickly became some of his most sough-after pieces, despite their extreme technical demands. Leading pianists of the day, such as Clara Wieck and Sigismond Thalberg, incorporated them into their concert programs immediately upon publication. Moreover, the transcriptions would serve as inspirations for other composers, such as Stephen Heller, Cesar Franck and later Leopold Godowsky, all of whom produced their own transcriptions of Schubert's Lieder. Liszt would transcribe the Lieder of other composers as well, including those by Mendelssohn, Chopin, Anton Rubinstein and even himself. Robert Schumann, of course, would not be ignored. The first transcription of a Schumann Lied was the celebrated Widmung from Myrten in 1848, the only Schumann transcription that Liszt completed during the composer's lifetime. (Regrettably, there is no evidence of Schumann's regard of this transcription, or even if he was aware of it.) From the years 1848-1881, Liszt transcribed twelve of Robert Schumann's Lieder (including one orchestral Lied) and three of Clara (one from each of her three published Lieder cycles); he would transcribe no other works of these two composers. The Schumann Lieder transcriptions, contrary to those of Schubert, are literal arrangements, posing, in general, far fewer demands on the pianist's technique. They are comparatively less imaginative in their treatment of the original material. Additionally, they seem to have been less valued in their day than the Schubert transcriptions, and it is noteworthy that none of the Schumann transcriptions bear dedications, as most of the Schubert transcriptions do. The greatest challenge posed by Lieder transcriptions, regardless of the composer or the nature of the transcription, was to combine the vocal and piano parts of the original such that the character of each would be preserved, a challenge unique to this form of transcription. Each part had to be intact and aurally recognizable, the vocal line in particular. Complications could be manifold in a Lied that featured dissimilar parts, such as Schubert's Auf dem Wasser zu singen, whose piano accompaniment depicts the rocking of the boat on the shimmering waves while the vocal line reflects on the passing of time. Similar complications would be encountered in Gretchen am Spinnrade, in which the ubiquitous sixteenth-note pattern in the piano's right hand epitomizes the ever-turning spinning wheel over which the soprano voice expresses feelings of longing and heartache. The resulting transcriptions for solo piano would place exceptional demands on the pianist. The complications would be far less imposing in instances in which voice and piano were less differentiated, as in many of Schumann's Lieder that Liszt transcribed. The piano parts in these Lieder are true accompaniments for the voice, providing harmonic foundation and rhythmic support by doubling the vocal line throughout. The transcriptions, thus, are strict and literal, with far fewer demands on both pianist and transcriber. In all of Liszt's Lieder transcriptions, regardless of the way in which the two parts are combined, the melody (i.e. the vocal line) is invariably the focal point; the melody should sing on the piano, as if it were the voice. The piano part, although integral to contributing to the character of the music, is designed to function as accompaniment. A singing melody was a crucial objective in nineteenth-century piano performance, which in part might explain the zeal in transcribing and paraphrasing vocal music for the piano. Friedrich Wieck, father and teacher of Clara Schumann, stressed this point repeatedly in his 1853 treatise Clavier und Gesang (Piano and Song): When I speak in general of singing, I refer to that species of singing which is a form of beauty, and which is a foundation for the most refined and most perfect interpretation of music; and, above all things, I consider the culture of beautiful tones the basis for the finest possible touch on the piano. In many respects, the piano and singing should explain and supplement each other. They should mutually assist in expressing the sublime and the noble, in forms of unclouded beauty. Much of Liszt's piano music should be interpreted with this concept in mind, the Lieder transcriptions and opera paraphrases, in particular. To this end, Liszt provided numerous written instructions to the performer to emphasize the vocal line in performance, with Italian directives such as un poco marcato il canto, accentuato assai il canto and ben pronunziato il canto. Repeated indications of cantando,singend and espressivo il canto stress the significance of the singing tone. As an additional means of achieving this and providing the performer with access to the poetry, Liszt insisted, at what must have been a publishing novelty at the time, on printing the words of the Lied in the music itself. Haslinger, seemingly oblivious to Liszt's intent, initially printed the poems of the early Schubert transcriptions separately inside the front covers. Liszt argued that the transcriptions must be reprinted with the words underlying the notes, exactly as Schubert had done, a request that was honored by printing the words above the right-hand staff. Liszt also incorporated a visual scheme for distinguishing voice and accompaniment, influenced perhaps by Chopin, by notating the accompaniment in cue size. His transcription of Robert Schumann's Fruhlings Ankunft features the vocal line in normal size, the piano accompaniment in reduced size, an unmistakable guide in a busy texture as to which part should be emphasized: Example 1. Schumann-Liszt Fruhlings Ankunft, mm. 1-2. The same practice may be found in the transcription of Schumann's An die Turen will ich schleichen. In this piece, the performer must read three staves, in which the baritone line in the central staff is to be shared between the two hands based on the stem direction of the notes: Example 2. Schumann-Liszt An die Turen will ich schleichen, mm. 1-5. This notational practice is extremely beneficial in this instance, given the challenge of reading three staves and the manner in which the vocal line is performed by the two hands. Curiously, Liszt did not use this practice in other transcriptions. Approaches in Lieder Transcription Liszt adopted a variety of approaches in his Lieder transcriptions, based on the nature of the source material, the ways in which the vocal and piano parts could be combined and the ways in which the vocal part could sing. One approach, common with strophic Lieder, in which the vocal line would be identical in each verse, was to vary the register of the vocal part. The transcription of Lob der Tranen, for example, incorporates three of the four verses of the original Lied, with the register of the vocal line ascending one octave with each verse (from low to high), as if three different voices were participating. By the conclusion, the music encompasses the entire range of Liszt's keyboard to produce a stunning climactic effect, and the variety of register of the vocal line provides a welcome textural variety in the absence of the words. The three verses of the transcription of Auf dem Wasser zu singen follow the same approach, in which the vocal line ascends from the tenor, to the alto and to the soprano registers with each verse. Fruhlingsglaube adopts the opposite approach, in which the vocal line descends from soprano in verse 1 to tenor in verse 2, with the second part of verse 2 again resuming the soprano register; this is also the case in Das Wandern from Mullerlieder. Gretchen am Spinnrade posed a unique problem. Since the poem's narrator is female, and the poem represents an expression of her longing for her lover Faust, variation of the vocal line's register, strictly speaking, would have been impractical. For this reason, the vocal line remains in its original register throughout, relentlessly colliding with the sixteenth-note pattern of the accompaniment. One exception may be found in the fifth and final verse in mm. 93-112, at which point the vocal line is notated in a higher register and doubled in octaves. This sudden textural change, one that is readily audible, was a strategic means to underscore Gretchen's mounting anxiety (My bosom urges itself toward him. Ah, might I grasp and hold him! And kiss him as I would wish, at his kisses I should die!). The transcription, thus, becomes a vehicle for maximizing the emotional content of the poem, an exceptional undertaking with the general intent of a transcription. Registral variation of the vocal part also plays a crucial role in the transcription of Erlkonig. Goethe's poem depicts the death of a child who is apprehended by a supernatural Erlking, and Schubert, recognizing the dramatic nature of the poem, carefully depicted the characters (father, son and Erlking) through unique vocal writing and accompaniment patterns: the Lied is a dramatic entity. Liszt, in turn, followed Schubert's characterization in this literal transcription, yet took it an additional step by placing the register of the father's vocal line in the baritone range, that of the son in the soprano range and that of the Erlking in the highest register, options that would not have been available in the version for voice and piano. Additionally, Liszt labeled each appearance of each character in the score, a means for guiding the performer in interpreting the dramatic qualities of the Lied. As a result, the drama and energy of the poem are enhanced in this transcription; as with Gretchen am Spinnrade, the transcriber has maximized the content of the original. Elaboration may be found in certain Lieder transcriptions that expand the performance to a level of virtuosity not found in the original; in such cases, the transcription approximates the paraphrase. Schubert's Du bist die Ruh, a paradigm of musical simplicity, features an uncomplicated piano accompaniment that is virtually identical in each verse. In Liszt's transcription, the material is subjected to a highly virtuosic treatment that far exceeds the original, including a demanding passage for the left hand alone in the opening measures and unique textural writing in each verse. The piece is a transcription in virtuosity; its art, as Rosen noted, lies in the technique of transformation. Elaboration may entail an expansion of the musical form, as in the extensive introduction to Die Forelle and a virtuosic middle section (mm. 63-85), both of which are not in the original. Also unique to this transcription are two cadenzas that Liszt composed in response to the poetic content. The first, in m. 93 on the words und eh ich es gedacht (and before I could guess it), features a twisted chromatic passage that prolongs and thereby heightens the listener's suspense as to the fate of the trout (which is ultimately caught). The second, in m. 108 on the words Betrogne an (and my blood boiled as I saw the betrayed one), features a rush of diminished-seventh arpeggios in both hands, epitomizing the poet's rage at the fisherman for catching the trout. Less frequent are instances in which the length of the original Lied was shortened in the transcription, a tendency that may be found with certain strophic Lieder (e.g., Der Leiermann, Wasserflut and Das Wandern). Another transcription that demonstrates Liszt's readiness to modify the original in the interests of the poetic content is Standchen, the seventh transcription from Schubert's Schwanengesang. Adapted from Act II of Shakespeare's Cymbeline, the poem represents the repeated beckoning of a man to his lover. Liszt transformed the Lied into a miniature drama by transcribing the vocal line of the first verse in the soprano register, that of the second verse in the baritone register, in effect, creating a dialogue between the two lovers. In mm. 71-102, the dialogue becomes a canon, with one voice trailing the other like an echo (as labeled in the score) at the distance of a beat. As in other instances, the transcription resembles the paraphrase, and it is perhaps for this reason that Liszt provided an ossia version that is more in the nature of a literal transcription. The ossia version, six measures shorter than Schubert's original, is less demanding technically than the original transcription, thus representing an ossia of transcription and an ossia of piano technique. The Schumann Lieder transcriptions, in general, display a less imaginative treatment of the source material. Elaborations are less frequently encountered, and virtuosity is more restricted, as if the passage of time had somewhat tamed the composer's approach to transcriptions; alternatively, Liszt was eager to distance himself from the fierce virtuosity of his early years. In most instances, these transcriptions are literal arrangements of the source material, with the vocal line in its original form combined with the accompaniment, which often doubles the vocal line in the original Lied. Widmung, the first of the Schumann transcriptions, is one exception in the way it recalls the virtuosity of the Schubert transcriptions of the 1830s. Particularly striking is the closing section (mm. 58-73), in which material of the opening verse (right hand) is combined with the triplet quarter notes (left hand) from the second section of the Lied (mm. 32-43), as if the transcriber were attempting to reconcile the different material of these two sections. Fruhlingsnacht resembles a paraphrase by presenting each of the two verses in differing registers (alto for verse 1, mm. 3-19, and soprano for verse 2, mm. 20-31) and by concluding with a virtuosic section that considerably extends the length of the original Lied. The original tonalities of the Lieder were generally retained in the transcriptions, showing that the tonality was an important part of the transcription process. The infrequent instances of transposition were done for specific reasons. In 1861, Liszt transcribed two of Schumann's Lieder, one from Op. 36 (An den Sonnenschein), another from Op. 27 (Dem roten Roslein), and merged these two pieces in the collection 2 Lieder; they share only the common tonality of A major. His choice for combining these two Lieder remains unknown, but he clearly recognized that some tonal variety would be needed, for which reason Dem roten Roslein was transposed to C>= major. The collection features An den Sonnenschein in A major (with a transition to the new tonality), followed by Dem roten Roslein in C>= major (without a change of key signature), and concluding with a reprise of An den Sonnenschein in A major. A three-part form was thus established with tonal variety provided by keys in third relations (A-C>=-A); in effect, two of Schumann's Lieder were transcribed into an archetypal song without words. In other instances, Liszt treated tonality and tonal organization as important structural ingredients, particularly in the transcriptions of Schubert's Lieder cycles, i.e. Schwanengesang, Winterreise a... $32.99 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| The Piano Bench Of Easy Classical Music Piano solo [Sheet music] - Easy Music Sales
The Piano Bench of Easy Classical Music arranged by Amy Appleby. For Piano Solo....(+)
The Piano Bench of Easy Classical Music arranged by Amy Appleby. For Piano Solo. Music Sales America. Classical. Softcover. 400 pages. Music Sales #AM967549. Published by Music Sales
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| Meine schönsten Klaviernoten! Piano solo [Sheet music + Audio access] Music Distribution Services
Piano SKU: M7.ART-42199 55 weltberühmte klassische Klavierstücke...(+)
Piano SKU: M7.ART-42199 55 weltberühmte klassische Klavierstücke & moderne Lieder für Anfänger. Arranged by Tatjana Davidoff. Sheet music with Online material. Performance book. 76 pages. MDS (Music Distribution Services) #ART 42199. Published by MDS (Music Distribution Services) (M7.ART-42199). ISBN 9783866421998. Ein unkompliziertes Spielvergnügen auf dem Piano! 'Meine schönsten Klaviernoten!' enthält 55 weltberühmte klassische Klavierstücke & moderne Lieder passend zum Einstieg ins Klavierspielen. Die Stücke sind einfach arrangiert und zumeist in Viertelnoten gehalten, sodass sich der Start leicht und mit Motivation gestalten lässt. Freudige Erfolgserlebnisse am Klavier sind schnell möglich und der Spaß am vielseitigen Klavierspiel steht im Vordergrund. Die Audiodateien zum Herunterladen helfen beim Kennenlernen des jeweiligen Stückes und unterstützen dabei ein gutes Spielgefühl zu entwickeln. Zudem enthält das Buch Liedtexte, die zum Mitsingen einladen. Ohrwurmgarantie! Von Kinder- über Weihnachtslieder bis hin zu Piano-Evergreens, deutsche und englische sowie weitere internationale Volkslieder (Traditionals) und klassische Meisterwerke - für jeden Geschmack und für unterschiedliche Anlässe ist etwas Passendes dabei. Weltbekannte Stücke aus den Genres Pop, Rock, Jazz und Klassik sind vertreten. Lust auf Amazing Grace, Bella Ciao, Jingle Bells, The Entertainer, Happy Birthday oder Schneewalzer? Alle Klavier-Begeisterten - Kinder, Erwachsene und Wiedereinsteiger - werden hier Stücke finden, die ihnen gefallen! Die Lieder sind nach Themenbereich geordnet und enthalten hilfreiche Fingersätze und Tempoangaben. Da es sich um ein reines Notenbuch handelt, sollten Notenkenntnisse bereits vorhanden sein. Wer sich fürs Klavierspielen interessiert und mit Spaß berühmte Klassiker erlernen möchte, sollte sich diese Klaviernoten unbedingt zulegen! $22.95 - See more - Buy onlinePre-shipment lead time: 4 to 6 weeks | | |
| Lutz Gerlach Piano Solo Piano solo - Easy AMA Verlag
A Kind of Miniatures / Panta Rhei. By Lutz Gerlach. For Piano. Solos. AMA Verlag...(+)
A Kind of Miniatures / Panta Rhei. By Lutz Gerlach. For Piano. Solos. AMA Verlag. Contemporary. Level: Beginning-Intermediate. Book. Size 9x12. 144 pages. Published by AMA Verlag. ISBN 3899220102.
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| The Real Book - Volume 1 Piano solo [Sheet music + Audio access] Hal Leonard
(Book/USB Flash Drive Play-Along Pack). By Various. For C Instruments. Real Book...(+)
(Book/USB Flash Drive Play-Along Pack). By Various. For C Instruments. Real Book Play-Along. USB Flash Drive. 462 pages. Published by Hal Leonard
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| The Classic Piano Course, Book 1: Starting to Play Piano solo [Sheet music] - Beginner Music Sales
By Carol Barratt. For Piano. Folk, Blues, Classical. 64 pages. Published by Musi...(+)
By Carol Barratt. For Piano. Folk, Blues, Classical. 64 pages. Published by Music Sales
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| The Piano Treasury of Easy Classical Music
Piano solo [Sheet music + CD] - Easy Music Sales
Edited by Amy Appleby. Collection and examples CD for easy solo piano. Over 200 ...(+)
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| Debussy Inconnu: Album of works for the piano by Claude Debussy completed by Robert Orledge, Vol. 1 Piano solo Musik Fabrik
By Nicolas Horvath. By Robert Orledge and Claude Debussy (1862-1918). Redi...(+)
By Nicolas Horvath. By
Robert Orledge and Claude
Debussy (1862-1918).
Rediscoverd Debussy.
Christmas. Score. Musik
Fabrik #MFCD017A. Published
by Musik Fabrik
$48.69 - See more - Buy onlinePre-shipment lead time: 4 to 6 weeks | | |
| Alfred's Adult All-in-One Course - Level 2 (Book/CD)
Piano solo [Book + CD] - Easy Alfred Publishing
Written by Amanda Vick Lethco, Morton Manus, Willard A. Palmer. Instructional b...(+)
Written by Amanda Vick Lethco, Morton Manus, Willard A. Palmer. Instructional book (spiral bound) and accompaniment CD for piano. With introductory text, instructional text, standard notation and fingerings. Series: Alfred's Basic Adult Piano Course. 144 pages. Published by Alfred Publishing.
(5)$24.99 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| The Giant Book of Intermediate Classical Piano Music
Piano solo - Intermediate Schirmer
Schirmer's Library of Musical Classics, Vol. 2139. Composed by Various. Piano....(+)
Schirmer's Library of Musical
Classics, Vol. 2139. Composed
by Various. Piano. Classical.
Softcover. 386 pages. G.
Schirmer #LIB 2139. Published
by G. Schirmer
$27.99 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Youth Album for Piano Piano solo [Sheet music] - Easy AMA Verlag
by Manfred Schmitz. For Piano. solos. AMA Verlag. Contemporary. Level: Beginning...(+)
by Manfred Schmitz. For Piano. solos. AMA Verlag. Contemporary. Level: Beginning-Intermediate. Book. Size 9x12. 216 pages. Published by AMA Verlag.
$22.99 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| The Classical Piano Solos Collection Piano solo Willis Music
106 Graded Pieces from Baroque to the 20th C. Compiled and Edited by P. Low, ...(+)
106 Graded Pieces from
Baroque to the 20th C.
Compiled and Edited by P. Low,
S. Schumann, C. Siagian.
Composed by Various. Edited
by Charmaine Siagian. Willis.
Classical, Recital, Solos.
Softcover. Published by
Willis Music
$27.99 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Library Of Easy Piano Favorites Piano solo [Sheet music] - Easy Music Sales
By Amy Appleby. For Piano. Classical. Sheet Music. 240 pages. Published by Music...(+)
By Amy Appleby. For Piano. Classical. Sheet Music. 240 pages. Published by Music Sales.
$32.99 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Calming Classical Piano Solos Piano solo Hal Leonard
Piano Solo Piano/Keyboard SKU: HL.1189843 Composed by Various. Piano. Cla...(+)
Piano Solo Piano/Keyboard SKU: HL.1189843 Composed by Various. Piano. Classical. Softcover. Published by Hal Leonard (HL.1189843). ISBN 9781705192412. UPC: 196288131489. 9.0x12.0x0.236 inches. Sometimes you just need some soothing piano music to relax, unwind, and let go. This collection gathers nearly 40 beautiful classical favorites for the intermediate-level player. Works include: Air (from Water Music) (Händel) â?¢ Arietta, Op. 12, No. 1 (Grieg) â?¢ Bagatelle in G Major, Op. 126, No. 5 (Beethoven) â?¢ Canon in D (Pachelbel) â?¢ Clair De Lune (Debussy) â?¢ Gymnopedie No. 1 (Satie) â?¢ Lullaby (Cradle Song) (Brahms) â?¢ La Pastorale (Burgmüller) â?¢ Piano Sonata No. 8 â??Pathetiqueâ? (Beethoven) â?¢ Prelude in A Major, Op. 28, No. 4 (Chopin) â?¢ Prelude in C Major (Bach)â?¢ Reverie (Debussy) â?¢ Slumber Song (Gurlitt) â?¢ The Swan (Le Cygne) (Saint-Säens) â?¢ Waltz in A-Flat Major, Op. 39, No. 15 (Brahms) â?¢ and more. $16.99 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Classic FM -- Play the Classics Piano solo - Easy Faber Music Limited
(Getting Started on the Piano). Arranged by Pam Wedgwood. For Piano. Book; Piano...(+)
(Getting Started on the Piano). Arranged by Pam Wedgwood. For Piano. Book; Piano Collection; Piano Supplemental; Solo. Faber Edition: Classic FM. Masterwork Arrangement; Radio. Early Elementary; Elementary; Late Elementary. Published by Faber Music
$11.99 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| La scala maggiore al pianoforte Piano solo [Sheet music + Audio access] Play Music Publishing
Piano SKU: BT.MI0420 Composed by Paolo Deriva. Studies & Exercises. Book ...(+)
Piano SKU: BT.MI0420 Composed by Paolo Deriva. Studies & Exercises. Book with Online Audio. Composed 2020. Play Music Italy #MI0420. Published by Play Music Italy (BT.MI0420). Italian. Con questo metodo, potrete finalmente imparare e soprattutto capire come utilizzare la scala maggiore al pianoforte, nonché scoprire tutto il suo potenziale melodico per sfruttarla al meglio. Dopo alcune pagine indispensabili dedicate alla teoria, affronterete quindi queste 12 scale maggiori, che ogni pianista deve saper padroneggiare, in maniera coerente ed efficace. Per ogni scala troverete sulla pagina di sinistra il nome e la collocazione delle note sulla tastiera del pianoforte (2 ottave), nonché gli accordi sui quali tale scala potr essere suonata in tutta sicurezza. Sulla pagina di destra, scoprirete, per illustrare quanto imparato, una lunga improvvisazione cheutilizza questa sola ed unica scala. Viene accompagnata da due registrazioni (da scaricare): la prima vi permette di ascoltare l’esempio, mentre la seconda propone la base musicale corrispondente. Potrete quindi suonare sulla base musicale non solo l’esempio proposto ma anche qualsiasi altra melodia o improvvisazione creata da voi stessi… ricavata dalla scala maggiore in questione, ovviamente! Tutte le registrazioni di questo metodo (esempi e basi musicali) possono essere scaricate gratuitamente e molto facilmente seguendo le indicazioni fornite nel libro. $12.95 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| The Complete Piano Player: Omnibus Edition Piano solo Music Sales
Piano SKU: BT.MUSAM39645 The Complete Piano Player. Tuition. Book Only. C...(+)
Piano SKU: BT.MUSAM39645 The Complete Piano Player. Tuition. Book Only. Composed 1992. 232 pages. Music Sales #MUSAM39645. Published by Music Sales (BT.MUSAM39645). ISBN 9780711906723. English. All five books of The Complete Piano Player series are published in this single volume at a substantial savings over the price of the five individual books. Complete with keyboard chart. $47.95 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Claude Debussy: Clair de lune (from Suite Bergamasque)
Piano solo [Sheet music] - Intermediate/advanced Alfred Publishing
By Claude Debussy. Edited by Willard A. Palmer. For Piano. Piano Solo. Masterwor...(+)
By Claude Debussy. Edited by Willard A. Palmer. For Piano. Piano Solo. Masterwork. Level: Early Advanced (grade 6 ). 8 pages. Published by Alfred Publishing.
(3)$4.99 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| The Complete Piano Player Omnibus Edition Piano solo - Intermediate Music Sales
(Volumes 1-5, Complete) Written by Kenneth Baker. For piano. Format: instruction...(+)
(Volumes 1-5, Complete) Written by Kenneth Baker. For piano. Format: instructional book. With standard notation, chord names, lyrics, instructional text, illustrations, fingerings and pull-out keyboard chart. Learn to play. 240 pages. 9x12 inches. Published by Music Sales.
(2)$29.99 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Bela Bartok: Piano Music of Bela Bartok - Series II Piano solo [Sheet music] - Intermediate/advanced Dover Publications
Composed by Bela Bartok (1881-1945), edited by Dr Benjamin Suchoff. For piano. T...(+)
Composed by Bela Bartok (1881-1945), edited by Dr Benjamin Suchoff. For piano. The Archive Edition. Format: piano solo book. With standard notation, fingerings and introductory text. 20th Century and Hungarian. 150 pages. 9x12 inches. Published by Dover Publications.
(2)$19.95 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Volume 1 - How to Play Jazz for Piano Piano solo [Sheet music + CD] Jamey Aebersold Jazz
Composed by Jamey Aebersold. Arranged by Luke Gillespie. Jamey Aebersold Play-A-...(+)
Composed by Jamey Aebersold. Arranged by Luke Gillespie. Jamey Aebersold Play-A-Long series. Book and 2 CDs. Published by Jamey Aebersold Jazz (JA.V01P).
$24.95 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Six preludes pour piano, d'apres poemes de Baudelaire Piano solo Lauren Keiser Music Publishing
Six preludes pour piano, d'apres poemes de Baudelaire composed by Sheila Silver....(+)
Six preludes pour piano, d'apres poemes de Baudelaire composed by Sheila Silver. For Piano. LKM Music. 32 pages. Lauren Keiser Music Publishing #X410023. Published by Lauren Keiser Music Publishing
$19.95 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Escapades: Books 1 and 2 - 22 Late Elementary Pieces for Piano Solo Piano solo Galaxy Music Corporation
Composed by Stephen Chatman. Piano Method. 20th Century, Secular. Published by ...(+)
Composed by Stephen Chatman. Piano Method. 20th Century, Secular. Published by Galaxy Music Corporation (EC.7.0673).
$11.00 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| 50 Most Popular Classical Melodies
Piano solo [Sheet music] - Easy Cherry Lane
By Various. Easy Piano Songbook. Softcover. 122 pages. Published by Cherry Lane ...(+)
By Various. Easy Piano Songbook. Softcover. 122 pages. Published by Cherry Lane Music
$18.99 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Iniciacion Al Piano Latino Piano solo [Sheet music + CD + DVD] Play Music Publishing
Collection 3D (Play Music). Latin. Book with CD & DVD. 56 pages. Play Mu...(+)
Collection 3D (Play Music).
Latin. Book with CD & DVD.
56 pages. Play Music Spain
#MUSML3779. Published by
Play Music Spain
$38.00 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Manuel De Falla: Siete Canciones Populares Espanolas Solo Piano Piano solo Manuel De Falla Ediciones
For Piano Solo (Piano). Music Sales America. 20th Century. 24 pages. Manuel De F...(+)
For Piano Solo (Piano). Music Sales America. 20th Century. 24 pages. Manuel De Falla Ediciones #UMF1022. Published by Manuel De Falla Ediciones . 20th Century.
$21.00 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
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| Easiest Book Of Piano
Favourites Piano solo [Sheet music] - Easy Amsco Wise Publications
Piano solo / Reliure : Spirales
Nb de Pages : 240
Langue : Anglais
30.50 EUR - Sold by Note4Piano Pre-shipment lead time: 24 hours - In Stock Only 2 left in stock, order soon ! | |
| Coffret Great Piano Solos
Vol.2 Piano solo Amsco Wise Publications
A superb four-volume collection of over 180 solos for the intermediate level Pia...(+)
A superb four-volume collection of over 180 solos for the intermediate level Pianist. Includes popular film and show tunes - themes and songs from top TV shows - and classical favourites from choral works, concertos, ballets, operas and symphonies. / Piano
104.90 EUR - Sold by LMI-partitions (Seller in french langage) Pre-shipment lead time: 3-10 days - In Stock Supplier | |
| Piano PlayBook :
Classical Favorites Piano solo [Sheet music] Amsco Wise Publications
Compilations regroupant les plus grands titres d'un genre musical spécialement ...(+)
Compilations regroupant les plus grands titres d'un genre musical spécialement regravées en piano, voix et diagrammes d'accord guitare ou en piano solo en format A4 spiralé afin qu'il reste plat sur le support du piano. / Classique / Partition / Wiro /
26.50 EUR - Sold by Note4Piano Pre-shipment lead time: 3-10 days - In Stock Supplier | |
| Peaceful Classical Piano
Solos: Piano Solo:
Instrumental Album Piano solo - Intermediate Hal Leonard
Peaceful Classical Piano Solos. Relax at the piano with this exceptional collect...(+)
Peaceful Classical Piano Solos. Relax at the piano with this exceptional collection of satisfying and profoundly beautiful pieces to play. Includes pieces from some of the greatest classical composers of all time: Bach, Beach, Beethoven, Chopin, Coleridge-Taylor, Debussy, Mozart, Schumann and many more.
Some pieces have been transposed and simplified for ease of playing.
12.99 GBP - Sold by Musicroom UK Pre-shipment lead time: In Stock | |
| 100 Easy Classics For
Piano Piano solo [Sheet music] - Easy Faber Music Limited
Cent classiques adaptés pour le pianiste de niveau intermédiaire, avec des oeu...(+)
Cent classiques adaptés pour le pianiste de niveau intermédiaire, avec des oeuvres allant de Mozart à Albeniz.
/ Classique / Arrangeurs : Manhire, Wilson / Palmer, Lynn / Partition / Cartonné / Plat de carton /
23.00 EUR - Sold by Note4Piano Pre-shipment lead time: 3-10 days - In Stock Supplier | |
| Great Piano Solos
(COFFRET) Piano solo - Intermediate Amsco Wise Publications
ensemble magnifique en quatre volumes de plus de 180 morceaux de spectacles, de ...(+)
ensemble magnifique en quatre volumes de plus de 180 morceaux de spectacles, de jazz, de blues ainsi que des classiques de la pop, des thèmes de films, de grands standards et des morceaux classiques, arrangés pour le pianiste solo.
108.00 EUR - Sold by Note4Piano Pre-shipment lead time: 24 hours - In Stock Only 2 left in stock, order soon ! | |
| The Classical Film
Collection Piano solo [Sheet music] Hal Leonard
The Classical Film Collection brings together famous classic pieces from the mov...(+)
The Classical Film Collection brings together famous classic pieces from the movies, such as Tchaikovsky's Swan Lake (from Black Swan), Mozart's Clarinet Concerto (Out of Africa), Allegri's Miserere (Chariots of Fire) and, for the first time in print, House of Woodcock by Jonny Greenwood from Phantom Thread. All pieces have been arranged for the intermediate pianist./ Recueil / Piano
22.67 EUR - Sold by LMI-partitions (Seller in french langage) Pre-shipment lead time: 3-10 days - In Stock Supplier | |
| Brun, Jérémy / Reynaud,
Armand : Kenny Barron :
The book - Relevés et
Analyses Français Piano solo [Sheet music] Lemoine, Henry
Transcriptions et analyses par Armand Reynaud et Jérémy Brun
Je su...(+)
Transcriptions et analyses par Armand Reynaud et Jérémy Brun
Je suis honoré d'écrire quelques mots à propos d'un des plus grands pianistes, Kenny Barron. Il a été une figure importante de la scène New Yorkaise durant quarante ans et il fait partie de l'élite des pianistes de jazz dans le monde.
J'ai tout d'abord rencontré Mr Barron en 1977 dans un haut lieu du duo piano/basse, au Bradley's, dans Greenwich Village. Je l'ai entendu à Cincinnati (dans la ville où j'habitais) en 1974 avec le Quartette de Yusef Lateef et fus très impressionné. Au Bradley's, il était chaleureux et a été très encourageant avec moi, pianiste de 21 ans récemment arrivé à Big Apple (New York). Le moment venu, il me laissa m'asseoir avec son bassiste, le grand Buster Williams - ce fut un réel plaisir.
Lorsque j'ai commencé à réaliser des CD pour le bénéfice de Classical Action : Performing Arts Against AIDS, dans le début des années 90, je lui ai demandé de participer au second enregistrement Fred Hersch and Friends : The Duo Album en jouant un duo avec moi. Cette organisation collecte des fonds vraiment nécessaires pour les services de personnes atteintes du Sida et la prévention. Kenny, sans attendre, donna de son temps et joua magnifiquement. Il apparaît aussi sur le disque suivant, The Richard Rodgers Centennial Solo Jazz Piano Album .
Nous avons également joué à deux pianos à New York au Town Hall et deux fois au Jazz Standard, pour mon plus grand plaisir. C'est un partenaire merveilleux et compréhensif, disposé à tout essayer. Bien qu'il soit difficile de l'identifier, et je ne veux le mettre dans aucune sorte de boîtes, je perçois son style comme étant en grande partie influencé par McCoy Tyner (les lignes longues et claires) et Tommy Flanagan (le phrasé et l'utilisation de l'espace). Il a réussi à obtenir le statut rare de maître du jazz par la vertu de sa longévité, sa profondeur et sa musicalité. Nous partageons tous les deux une passion pour la musique de Monk, Strayhorn et de l'American Popular Songbook et nous sommes tous les deux de grands partisans de l'idée de rendre ce que nous avons absorbé en enseignant aux jeunes pianistes et en devenant leurs mentors.
En plus, il a une personnalité chaleureuse et engageante - il est d'un grand soutien, a un grand sens de l'humour et une attitude posée. Je suis très heureux que ce livre puisse apporter un éclairage sur le parcours du pianiste Kenny Barron - je suis sûr que cela sera d'une grande valeur musicale et historique pour tous ceux qui suivent l'évolution du piano jazz. / Jazz / Partition /
54.50 EUR - Sold by Note4Piano Pre-shipment lead time: 3-10 days - In Stock Supplier | |
| Exploring Piano Classics
Repertoire, Level 5 Piano solo [Sheet music + CD] Alfred Publishing
Les Classics Piano Explorer: une méthode pour l'élaboration d'oeuvres magistra...(+)
Les Classics Piano Explorer: une méthode pour l'élaboration d'oeuvres magistrales paires en série Pianistes motivation répertoire performance avec réfléchies études techniques. Chaque niveau contient un livre Répertoire avec lecteur CD et un livre technique, pratique à la fois avec la page par page de corrélation. Lorsqu'ils sont utilisés ensemble, les livres donner aux étudiants une compréhension profonde de l'art de la musique, les pratiques de performance et les compétences nécessaires pour jouer du piano avec une aisance technique. Les livres comprennent des pièces Répertoire des périodes de style majeures, sélectionnées et classées sur la base du festival, la concurrence, et les listes d'examen des Etats-Unis, au Canada et au Royaume-Uni. Des renseignements généraux sur chaque période de style, ses instruments, compositeurs, et la musique elle-même est inclus.Les enregistrements sur CD du répertoire, effectuées par le clinicien de renommée internationale et professeur Nancy Bachus, de fournir un outil indispensable pour l'interprétation musicale appropriée. Un diplômé de l'Eastman School of Music avec un MM en interprétation du piano et de la littérature, Nancy Bachus a donné des récitals en solo à travers les Etats-Unis, le Canada et l'Italie, et est apparue dans les 'Concerts' monstre originaux dans des lieux tels que le Lincoln Center et la Maison Blanche. / Piano
16.60 EUR - Sold by LMI-partitions (Seller in french langage) Pre-shipment lead time: 3-10 days - In Stock Supplier | |
| Tunes you've always
wanted to play
Piano solo [Sheet music] - Intermediate Chester
Un excellent album contenant plus de 155 pages de mélodies classiques et ...(+)
Un excellent album contenant plus de 155 pages de mélodies classiques et traditionnelles, arrangées pour piano facile par Carol Barratt. Inclus la Lettre à Elise, La Sonate au Clair de Lune et le le Can-Can / Classique / Arrangements : Carol Barrat / Partition /
25.50 EUR - Sold by Note4Piano Pre-shipment lead time: 3-10 days - In Stock Supplier | |
| Alfred's Basic Adult
All-In-One Course, Book 2 Piano solo Alfred Publishing
Alfred's Basic Adult All-in-One Course is designed for use with an instructor fo...(+)
Alfred's Basic Adult All-in-One Course is designed for use with an instructor for the beginning student looking for a truly complete piano course. It is a greatly expanded version of Alfred's Basic Adult Piano Course that will include lesson, theory, and technique in a convenient, 'all-in-one' format. This comprehensive course features written assignments that reinforce each lesson's concepts, a smooth, logical progression between each lesson, a thorough explanation of chord theory and playing styles, and outstanding extra songs, including folk, classical, and contemporary selections. At the completion of this course, the student will have learned to play some of the most popular music ever written and will have gained a good understanding of basic musical concepts and styles. The comb binding creates a lay-flat book that is perfect for study and performance. / Piano
29.91 EUR - Sold by LMI-partitions (Seller in french langage) Pre-shipment lead time: 3-10 days - In Stock Supplier | |
| Complete Keyboard Player
Course Pack Book 2
Cd's
Piano solo [Sheet music + CD] - Beginner Amsco Wise Publications
The world's best-selling keyboard method in one complete pack - everything you n...(+)
The world's best-selling keyboard method in one complete pack - everything you need to get the most from your Keyboard! This book and 3 CD pack has been compiled from the hugely successful Complete Keyboard Player series to offer an all-in-one solution to learning the best in Keyboard techniques, sounds and songs. This package includes: A complete tutorial guide giving a step-by-step approach to playing the instrument. Extensive chapters concerning selecting sounds, rhythms and using auto accompaniments. Music notation explained in full, along with single-finger and fingered chords, scales and keys. A comprehensive set of full professional-quality backing tracks across 3 CDs that will bring your practice hours to life. Handy Keyboard overlays will ensure that you will never have to hit a wrong note! Furthermore, over 50 hit songs have been provided to create an instant repertoire, and to give you the opportunity to learn using the songs that you know and love. No previous knowledge of the Keyboard or music is required. This book is A5-sized for easy transport! / Clavier
22.70 EUR - Sold by LMI-partitions (Seller in french langage) Pre-shipment lead time: 3-10 days - In Stock Supplier | |
| Laverne A. - Chords In
Motion - Piano Piano solo Jamey Aebersold Jazz
Noted jazz pianist, composer, recording artist and educator Andy LaVerne has dra...(+)
Noted jazz pianist, composer, recording artist and educator Andy LaVerne has drawn from his decades of experience playing with master musicians from Getz to Lovano to create this comprehensive compendium of contemporary moving voicings. Quartal, quintal, drop 2, dominant 7b9/diminished, triadic, whole tone and chromatic performance proven voicings pioneered by McCoy Tyner, Chick Corea, Herbie Hancock, and Andy himself are presented and fleshed out in all twelve keys. This book picks up where others leave off, enabling you to replace static chords with voicings that move melodically, dramatically, and gracefully over the entire range of the keyboard. Firmly rooted in contemporary jazz theory, the emphasis is on practical performance applications. Andy ties it all together with illustrations of comping choruses for five standard jazz tunes. Chords in Motion satisfies a long awaited need in actual comping situations, and shows you how to move chords through varying harmonic rhythms. FINALLY ? a book that gives you moving voicings, and sets them in motion in all twelve keys. Chords in Motion is a valuable resource for all keyboardists, arrangers, and instrumentalists. Activate, animate, and energize your comping with this encyclopedic volume. 156 pages, spiral bound for easy opening. Andy carries the flame of jazz piano tradition and just great music. He always inspires me. Chick Corea This is a great book! I am going to sit down and play through this!! I am always telling my non-piano playing students how important it is to work with (and internalize) the sounds that we live with all our lives as Jazz musicians. Coltrane spent years sitting at the piano and so should all of us!!! John Patitucci Berklee College of Music One thing about Andy?he is complete as can be and has been consistently so for years in both his teaching materials and playing. He is completely knowledgeable in such a way that when I play with him, I know he KNOWS!! Plus he is one of the smoothest and polished of players around. Great book?encyclopedic in content. Dave Liebman Founder, Artistic Director, International Association of Schools of Jazz (IASJ) I've played and recorded with Andy LaVerne many times over the years and in many different settings and he's always come up with the hippest, most interesting chords in the most musical way! His way of playing and looking at chords inspires me as a drummer and his rhythm section partner to play things that are in turn inspiring to the rest of the band. This book, helps musicians, understand, in a clear thoughtful presentation, how to go about getting this together. Billy Drummond Jazz Drummer, Educator, Juilliard, NYU Chords in Motion is an outstanding and comprehensive guide by Andy LaVerne, whose encyclopedic knowledge, decades of experience and brilliance as a performer and educator make this an invaluable handbook of modern jazz piano harmony. Its user-friendly, intelligent design enables musicians to expand their harmonic palette and potentially transform their playing, writing and arranging. Chords in Motion is an invaluable contribution to jazz musicians! Lynne Arriale Jazz Pianist, Composer, Educator, Associate Professor of Jazz Piano, Director of Small Ensembles, University of North Florida Chords in Motion is exactly the book I'd expect from Andy LaVerne. It's clear, openhearted and inspiring, as has been every conversation I've had with Andy over the years. Long a fan of his playing, I have enjoyed this look behind the curtain at how Andy LaVerne formulated his signature style. One other thing -- any pianist, no matter his/her approach, will gain insight into what will surely be new and exciting musical directions. Pete Malinverni Jazz Pianist, Educator, Director of Jazz Studies, SUNY Purchase College Conservatory of Music What a great resource for expanding the harmonic palette! Chords in Motion is a must have for the aspiring young jazz pianist as well as the seasoned veteran. Another winner from Andy! Paul Schmeling Jazz Pianist, Educator, Chair Emeritus, Piano Department, Berklee College of Music In Chords in Motion, I recognize chords and sounds that have inspired me to compose and play: harmony from the music of Chick Corea, Herbie Hancock and McCoy Tyner. This book is well organized, and from the beginning gets you playing. Each chord structure is explained and developed. There is plenty to practice. I especially like the exercises using contrary motion, arpeggiation
24.60 EUR - Sold by Woodbrass Pre-shipment lead time: On order | |
| Roving Through Ireland
(VOSS RICHARD) Piano solo Mel Bay
Piano Solos Of Traditional Irish Folk Music. Par VOSS RICHARD. Irish folk song '...(+)
Piano Solos Of Traditional Irish Folk Music. Par VOSS RICHARD. Irish folk song ' est le terme générique qui désigne ballades, chansons rebel, chants de travail, berceuses, lamentations et chansons à boire. Beaucoup de chansons folk irlandais développé à partir des événements historiques et de la mythologie celtique et comprennent des airs, polkas, jeu de danse, longtemps dances, turluttes, diapositives, slip jigs, hornpipes et bobines. Environ 200 tunes de la grande harpiste irlandaise Turlough O'Carolan ont survécu aussi par le biais de la tradition phonétique. Cette collection contient 38 tunes représentant un vaste échantillon représentatif du folk irlandais qui ont été pris pour piano solo intermédiaire. En outre, les chansons sont utilisables comme matériel d'enseignement, comme des pièces de récital ou comme de la musique pour la danse. / Niveau : Débutant à Intermédiaire / Celtic/Irish - Solos / Recueil / Piano
15.10 EUR - Sold by LMI-partitions (Seller in french langage) Pre-shipment lead time: 3-10 days - In Stock Supplier | |
| The Giant Book Of
Classical Sheet Music Piano solo Alfred Publishing
Avec plus de 80 chefs-d'oeuvre essentiels arrangées pour piano facile, ce livre...(+)
Avec plus de 80 chefs-d'oeuvre essentiels arrangées pour piano facile, ce livre garantit une durée de vie de l'exploration et de plaisir à la clé. / Piano
33.24 EUR - Sold by LMI-partitions (Seller in french langage) Pre-shipment lead time: 3-10 days - In Stock Supplier | |
| Flament Natalia - Les
Exercices Pour Les
Garcons - Piano Français Piano solo Lemoine, Henry
En parlant de la danse classique on imagine toujours une fragile danseuse, raffi...(+)
En parlant de la danse classique on imagine toujours une fragile danseuse, raffinée, vêtue d?un tutu pailleté et de pointes satinées. Mais on oublie souvent (et à tort !) ceux, grâce à qui cette finesse et cette féminité sont mises en valeur : les garçons. Ce sont les partenaires incontournables lors des présentations scéniques : leur force durant les grands portés en Pas de deux et Grands adages rassure la jolie princesse tout en soulignant son image légère et vaporeuse ; la fiabilité de leurs appuis au moment des grandes pirouettes fait tourner la tête des spectateurs ; leurs envols en grands sauts déclenchent des tempêtes d?applaudissements ! Qu?ils soient souvent minoritaires en cours de danse classique, leur morphologie ainsi que les qualités techniques de leurs pas spécifiques doivent être mises en valeur et méritent une attention particulière. C?est pour cette raison que j?ai décidé de consacrer la grande partie de ce volume aux exercices pour les garçons, car, à mon sens, ces "perles rares" des classes de danse doivent être traités avec beaucoup de soin. Ils ont le droit à leurs propres exercices au milieu de la salle (pendant que les filles mettent leur pointes !), et avec la réponse adaptée par la qualité d?accompagnement : les schémas harmoniques les plus clairs sont là pour souligner la stabilité et la force d?appui ; le volume sonore et le diapason mélodique du morceau doivent correspondre aux amplitudes des mouvements et aux déplacements du danseur dans l?espace ; les tempos des morceaux s?adaptent aux niveaux et aux exigences techniques des exercices.
Il est impossible d?imaginer les spectacles de danse sans variations : ce sont les moments très émouvants tant pour les danseurs que pour leurs spectateurs (et pour les professeurs aussi !). Ce sont en quelque sorte des résumés de performances techniques acquises durant l?année scolaire. J?ajoute à ce volume trois variations différentes (une pour garçons, deux pour filles : sur demi-pointes et sur pointes) afin d?assurer un choix optimal pour les professeurs de danse.
Et à la fin de la prestation - les saluts et les révérences ! Les ports de bras accompagnent les inclinaisons du corps. L?intention de mouvements exprime la gratitude et la reconnaissance, et les regards des danseurs s?illuminent en dialogue avec leur public ! Le moment est venu de le remercier pour sa fidélité, son attention et son intérêt porté à cet art éternel !
26.00 EUR - Sold by Woodbrass Pre-shipment lead time: On order | |
| BIG BOOK OF BEGINNER'S
PIANO CLASSICS Piano solo - Easy Dover Publications
Par . Beginning pianists of all ages will cherish this excellent compilation of ...(+)
Par . Beginning pianists of all ages will cherish this excellent compilation of beloved piano classics. Each piece has been carefully selected and simplified to help students develop their skills. The special arrangements also offernovices the pleasure and satisfaction of playing music that's usually beyond their grasp.
Some of the master composers are represented by several pieces each: nine works by Bach include Jesu, Joy of Man's Desiring; Mozart'sRondo alla Turca appears along with eight other selections from his oeuvre; seven by Chopin include Funeral March; the 'Emperor' Concerto, Ode to Joy, and 'Für Elise' are among the eight Beethoven features; and eight byTchaikovskyinclude Dance of the Sugar Plum Fairy from The Nutcracker. Other well-known pieces include Hungarian Rhapsody No. 2 by Liszt, Brahms' 'Lullaby,' Morning Mood by Grieg, Haydn's 'Surprise' Symphony, plus compositions by Schubert,Verdi, Debussy, Handel, Mendelssohn, and others.
Reprinted from authoritative editions. / Niveau : Facile / Date parution : 2022-02-26/ Recueil / Piano
20.74 EUR - Sold by LMI-partitions (Seller in french langage) Pre-shipment lead time: In Stock | |
| Pianorama Piano solo Bosworth
Appearing in a practical and convenient landscape format, Pianorama is a collect...(+)
Appearing in a practical and convenient landscape format, Pianorama is a collection of contemporary and classic hits, arranged by Hans-Günter Heumann with melody line, lyrics and chord symbols. With spiral-binding and songs on a double-page spread, this songbook is easy-to-use and a lot of fun.Featuring 100 hits including currently popular songs like Coldplay's A Sky Full Of Stars, Lady Gaga's Applaus, Daft Punk's Get Lucky and Pharrell Williams' Happy, Pianorama includes plenty to keep pop-loving pianists happy. It also includes many fantastic evergreen and classic hits such as R.E.M.'s Losing My Religion, Keane's Everybody's Changing and Buena Vista Social Club's Chan Chan, along with many more. Expertly arranged by Hans-Günter Heumann, Pianorama is full of great songs to play on the Piano in a convenient and accessible format that will stay open on your music stand while also minimising page-turns. / Piano
28.60 EUR - Sold by LMI-partitions (Seller in french langage) Pre-shipment lead time: 3-10 days - In Stock Supplier | |
| Hans-Günter Heumann:
Piano Gefällt Mir!
Classics Piano solo Bosworth
The author and arranger Hans-Günter Heumann adds to his bestselling series Pian...(+)
The author and arranger Hans-Günter Heumann adds to his bestselling series Piano Gefällt Mir! with a Classical edition. All of the greatest masters of musical history is represented by their most famous works, whether it's Bach, Strauss, Liszt, Mozart, these pieces are playable by beginners to advanced pianists, with tempo markings, fingerings and chord symbols.Among the 50 classic pieces in this edition are many famous works which have been used in some of the greatest Hollywood films. Heumann's ever-popular arrangements are perfect for different abilities and fans of the finest classical compositions. / Piano
29.57 EUR - Sold by LMI-partitions (Seller in french langage) Pre-shipment lead time: 3-10 days - In Stock Supplier | |
| Piano Inspiration, Book 2 Piano solo - Intermediate/advanced ABRSM Publishing
ABRSM Grades 7-8 . This special collection of intermediate to advanced piano rep...(+)
ABRSM Grades 7-8 . This special collection of intermediate to advanced piano repertoire has been lovingly curated by internationally renowned pianist, Isata Kanneh-Mason. Inspired by her musical journey from childhood prodigy to accomplished performer, and drawing on her championship of female composers and composers of colour, Isata has handpicked a wonderfully diverse melange of music for players to explore. Alongside classical masterpieces such as Clara Schumann?s Notturno, players will find repertoire by Samuel Coleridge-Taylor, George Gershwin and Alexander Desplat as well as a stunning new work by Errollyn Wallen. Carefully edited and fingered, Piano Inspiration 2 is ideal both for recreational playing and those seeking own-choice repertoire for ABRSM Performance Grades (Grades 7 ).
? 12 pieces for intermediate to advanced players, each holding special significance to Isata
? A wonderful array of styles, composers and traditions that span four centuries of piano music
? An original work by Errollyn Wallen, specially composed for this collection
? Ideal for own-choice repertoire selection in ABRSM Performance Grades (Grades 7 )
Pianist Isata Kanneh-Mason is in great demand in the UK and internationally as a soloist and chamber musician. She offers eclectic and interesting repertoire and has performed at many of the world?s finest concert venues, including the Royal Albert Hall for her BBC Proms solo debut in 2023. As a Decca recording artist, she entered the UK classical charts at No. 1 with her 2019 album Romance, and has since released Summertime, featuring twentieth-century American repertoire; Muse, a duo album with her brother Sheku; and Childhood Tales, which showcases music inspired by a nostalgia for youth. Isata is recipient of the coveted Leonard Bernstein Award and the Opus Klassik Award for best young artist.
13.95 GBP - Sold by Musicroom UK Pre-shipment lead time: In Stock | |
| Flament Natalia - Les
Exercices A La Barre Sur
1/2 Pointes - Piano Français Piano solo Lemoine, Henry
Pendant mes années d'enseignement avec Natalia Flament au CRR de Paris, j'ai ap...(+)
Pendant mes années d'enseignement avec Natalia Flament au CRR de Paris, j'ai apprécié son engagement et sa connaissance de la danse classique.
Nous avons recherché ensemble la plus juste harmonie entre le mouvement de danse et la phrase musicale. Chaque exercice à la barre comme au centre possédait son propre caractère : sensibilité, poésie, nuances, dynamiques, couleurs, puissance grâce à la capacité de Natalia de traduire les mouvements chorégraphiques en phrase musicale. Les retenues, les résonances, les accents, les anacrouses étaient en parfaite liaison avec mes explications et mes exigences de qualité de mouvement.
La diversité de son accompagnement donnait à chaque cours une ambiance particulière. Le travail avec Natalia à mon sens n'a pu se faire qu'avec une grande complicité et compréhension émotionnelle.
23.00 EUR - Sold by Woodbrass Pre-shipment lead time: On order | |
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